A2 Chorale Exercises

A2 Music – Bach Chorales

A2 Music Bach Chorales

These 20 chorale exercises (with solutions) are intended for use in preparation for EdExcel A2 tests. The tests are progressive, as follows: 

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In Chorales 1-4, only the bass part is to be completed; students should concentrate on writing smooth, fluent and strong bass lines. In Chorales 5-7, the bass line is provided, and students should complete the alto and tenor parts. From Chorale 8 onwards, all three lower parts should be completed. Minor key chorales are included, and the last five tests are of full examination standard.

Some chorales have been adapted, usually by removing one or more phrases. The suggested solutions employ Bach’s harmonisations whenever possible, but some part-writing has been simplified to approximate more closely to the ‘typical’ examination answer. However, students should be encouraged to study Riemenschneider to see the variety of Bach’s solutions, and references are provided (where available). The current EdExcel markscheme for this paper is included as an appendix. It can be used from Chorale 8 onwards, as all these chorales require req uire the completion of 35 chords. One additional chorale is provided: Chorale 21 is in ¾ time. It is unlikely that a triple-time chorale will be set, but students might like one to practice. (NB The markscheme will not work with this chorale.)

DST June 2008 A2 Music – Bach Chorales


Index of chorales:

Chorale

Title

Riemenschneider

1

O Ewigkeit, du Donnerwort

R26

2

Du Friedensfurst, Herr Jesu Christ

R42

3

Das walt' Gott Vater und Gott Sohn

R224

4

Jesu, deine tiefen Wunden

R256

5

Es ist gewisslich an der Zeit

R260

R362

6

Ermuntre dich, mein schwacher Geist

R9

R102

7

Der Tag, der ist so freudenreich

R158

8

Was Gott tut, das ist wohlgetan

R65

R293, R347

9

An Wasserflussen Babylon

R5

R309

10

Jesu, meine Freude

R263

R324

11

Herr, ich denk an jene Zeit

R212

12

Sei gegrüßet, Jesu gütig

R172

13

Jesu Leiden, Pein und Tod

R106

14

Ach, was soll ich Sünder machen

R39

15

Jesu, der du selbsten wohl

R169

16

Alle Menschen müssen sterben

not in R

17

Werde munter, mein Gemute

R350

18

Herr Jesu Christ, du hast bereit

R226

19

Meinen Jesum laß ich nicht

R152

20

Da der Herr Christ zu Tische saß

R196

minor

21

Für deinen Thron tret' ich hiermit

R334

in 3/4


Alternatives

Notes

minor

minor R61, R83 minor

minor R95, R121, R233, R365 minor R299, R348


Chorale 1 Add a BASS part to the following in an appropriate style:



Chorale 1

Solution

Chorale: O Ewigkeit, du Donnerwort (R26). Donnerwort (R26).






Chorale 2

Solution

Chorale: Du Friedensfurst, Herr Jesu Christ (R42)






Chorale 3

Solution

Chorale: Das walt' Gott Vater und Gott Sohn (R224)






Chorale 4

Solution

Chorale: Jesu, deine tiefen Wunden (R256)



Chorale 5 Add ALTO and TENOR parts to the following in an appropriate style:



Chorale 5

Solution

Chorale: Es ist gewisslich an der Zeit (R260). Alternative: R362






Chorale 6

Solution

Chorale: Ermuntre dich, mein schwacher Geist (R9). Alternative: R102 A2 Music – Bach Chorales





Chorale 7

Solution

Chorale: Der Tag, der ist so freudenreich (R158)



Chorale 8 Add ALTO, TENOR and BASS parts to the following in an appropriate style:



Chorale 8

Solution

Chorale: Was Gott tut, das ist wohlgetan (R65). Alternatives: R293, R347






Chorale 9

Solution

Chorale: An Wasserflussen Babylon (R5). Alternative: R309






Chorale 10

Solution A

Chorale: Jesu, meine Freude (R263). Alternative: see next page A2 Music – Bach Chorales


Chorale 10

Solution B

Chorale: Jesu, meine Freude (R263). A2 Music – Bach Chorales





Chorale 11

Solution

Chorale: Herr, ich denk an jene Zeit (R212) A2 Music – Bach Chorales





Chorale 12

Solution

Chorale: Sei gegrüßet, Jesu gütig (R172), adapted with additions from BWV768. A2 Music – Bach Chorales





Chorale 13

Solution

Chorale: Jesu Leiden, Pein und Tod (R106). Alternatives: R61, R83 A2 Music – Bach Chorales





Chorale 14

Solution

Chorale: Ach, was soll ich Sünder machen (R39) A2 Music – Bach Chorales





Chorale 15

Solution

Chorale: Jesu, der du selbsten wohl (R169). A2 Music – Bach Chorales





Chorale 16

Solution

Chorale: Alle Menschen müssen sterben (not included in Riemenschneider) A2 Music – Bach Chorales





Chorale 17

Solution

Chorale: Werde munter, mein Gemute (R350). Alternatives: R95, R121, R233, R365 A2 Music – Bach Chorales





Chorale 18

Solution

Chorale: Herr Jesu Christ, du hast bereit (R226) A2 Music – Bach Chorales



Try to keep the bass quavers going throughout.



Chorale 19

Solution

Chorale: Meinen Jesum laß ich nicht (R152). Alternatives: R299, R348 A2 Music – Bach Chorales





Chorale 20

Solution

Chorale: Da der Herr Christ zu Tische saß (R196). A2 Music – Bach Chorales





Chorale 21

Solution

Chorale: Für deinen Thron tret' ich hiermit (R334) A2 Music – Bach Chorales

B (i)

Chorale

Resources, Structure, Harmony, Melody Award 2, 1, or 0 marks for each chord that has to be added, expecting there to be a chord on each crotchet beat and on each pause chord: 35 chords in all. Operating the scheme below for this component will give a mark out of 70. This mark out of 70 should be halved , any half marks to be rounded down. For each of the 35 chords, award 2 marks if BOTH (a) the choice chord is ‘correct’ in terms of common practice harmony. AND (b) there are no part-writing faults associated with it. You should award 1 mark instead where one of the following is true: THERE IS one problem of part-writing, notably one of the following: •

• •

• • • • •

• • • •

• •

•

• •

a single set of consecutives or exposed 5ths/8ves terminates at that beat or falls within it (in the case of perfect to diminished 5ths or 8ves only if the bass line is involved) a dissonance is wrongly treated at that point an inappropriate augmented melodic interval or some other clearly unsuitable interval ends there or happens within the chord there is no third in a five-three the fourth above the bass in a six-four is doubled any other type of dissonance is doubled a six-three lacks one of its constituent notes a leading note is doubled [NB the third of a five-three other than V may be doubled if sensibly handled] parts cross unnecessarily parts overlap inappropriately a chord is repeated (same inversion) from weak to strong a bass note is repeated from weak to strong unless it becomes a dissonance on the strong beat there is more than an octave between S,A or A,T without clear justification there are too few or too many notes (in one or more parts) to accommodate the number of syllables to be sung a note is outside the range of a voice: but NB a candidate should not lose more than 3/70 marks by this means note of resolution sounding against suspended dissonance (unless in bass) inappropriate false relation

OR the chord is unsuitable rather than actually wrong (‘u.c.’): for example, in V IV the IV will be unsuitable if the outer parts do not proc eed by contrary motion. Straight repetition of a chord will result in a mark of 1 for the repetition, except between phrases or across the first barline of a phrase. OR there is clearly a wrong note in the chord (‘w.n.’): for example, with C in the bass and F B flat D sharp above it, the candidate must have meant C but didn’t write it and cannot therefore expect full credit a chord has an accidental missing •

•

OR one part is omitted: that is, one part is absent (e.g. the chord has treble, alto and bass, but no tenor)

84

You should withhold marks altogether where one of the following is true: THERE ARE two problems of part-writing OR the chord is very unsuitable (‘v.u.c.’). ‘Very unsuitable chord’ (‘v.u.c.’) – most commonly means an inappropriate six-four a diminished triad (notably VIIa) an augmented triad • • •

Where there is a ‘v.u.c.’, the next chord (unless itself obviously very unsuitable) is assumed to be suitable. You may penalize consecutive or exposed 5ths/8ves/unisons at such a point, but not overlaps, crossings, etc. OR there is a ‘u.c.’ and one part-writing fault OR two parts are missing from a chord: that is, a chord has, for example, treble and b ass only (with no alto or tenor) OR at bar 4, beat 2 there is no harmonic movement (i.e. all parts have minims on beat 1). There should be a fresh chord or a resolution of a 4-3 Suspension over a dominant chord for 2 marks. A dominant seventh passing note would not be enough on its own but may be credited as a p.n. under style. OR there are multiple problems

Style Award 1 mark for each of the following up to a maximum of 20: •

• •

•

• •

•

•

•

•

• •

an effective passing note (not one that generates or completes consecutives or one that sounds weak or uncharacteristic): maximum 8 marks. You may award 2 marks at a beat where two effective passing notes occur simultaneously a correct suspension a LN that moves appropriately to a note other than the tonic at a cadence: maximum of 2 marks for leading notes any secondary 7th or diminished 7th that is awarded 2 for Resources– especially remember II7b! any appropriate chromaticism a positively good bass line throughout a complete phrase in bars 2–10 – indicate this as ‘tick B’. If the bass is involved in any consecutives with the soprano, this automatically cancels the bass style mark. satisfactory texture in bars 2–6 3 (generally speaking no overlaps, crossings, unsuitable gaps, candidate’s tenor rarely if ever more than a 12th from the soprano, and at some points less than an octave from it): indicate this as ‘tick T’ satisfactory texture in bars 6 4–10 (generally speaking as above): indicate this as ‘tick T’ each effective cadence outside d major. An ‘effective cadence’ is one with Resources marks of 2 2 2 for the final three chords of the cadence two different chords on the same crotchet beat and both are correct (but this does not apply when there are two quavers in the melody) auxiliary notes – but only if really effective (almost certainly in the bass) any other good feature – identify this briefly in words

85

Presentation Marks out of 5 are awarded as follows: 5

Very carefully presented throughout; must be completely accurate. Pencilled answers can qualify for ‘5’. Erasures unless careful and thorough are unlikely to be found in answers awarded ‘5’. Alignment and spacing must be good.

4

EITHER Carefully presented, with very minor inaccuracy or very minor incompleteness. Inaccuracy may include misalignment and poor spacing. OR Carefully presented as a rule, and completely accurate.

3

EITHER Reasonably carefully presented, with several inaccuracies or with minor incompleteness OR Completely accurate, but – while always legible – somewhat unattractively presented OR Work which is incomplete, but not as seriously so as defined under ‘2’ below.

2

EITHER Work which shows little care, and is probably difficult to decipher in at least one place OR Work which is seriously incomplete (less than half of the required work having been submitted).

1

Work which is unacceptable because it is very poorly presented and/or has numerous inaccuracies including some serious ones and/or is very incomplete. Expect to award 1 only rarely.

0

Award 0 only if there is no score.

Presentation (this set of descriptors to be used in the case of computer generated scores) The following should be taken into consideration: 1

Completeness, including all given material as printed on the question paper (the only exception is the stimulus, usually four bars, in Aii Paper 51)

2

Accuracy, including accuracy of given material (enharmonic changes, changes of beaming, rests etc are not acceptable)

3

Spacing, both between staves and between systems

4

Beaming

5

Positioning of Accidentals

6

Positioning of dynamic marking, slurs and other marks of articulation

7

Bar numbering, which should coincide exactly with that given on the question paper

8

Elimination of redundant staves or parts of staves

9

Any other feature which serves to reduce the clarity of the score.

86

A2 Chorale Exercises

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